Peregrinations: Journal of Medieval Art and Architecture Volume 2 Issue 4 51-96 2009 Stylistic Variation and Roman Influence in the Bayeux Tapestry Gale R. Owen-Crocker University of Manchester Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Owen-Crocker, Gale R.. "Stylistic Variation and Roman Influence in the Bayeux Tapestry." Peregrinations: Journal of Medieval Art and Architecture 2, 4 (2009): 51-96. https://digital.kenyon.edu/perejournal/vol2/ iss4/4 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact
[email protected]. Owen-Crocker Stylistic Variation and Roman Influence in the Bayeux Tapestry By Gale R. Owen-Crocker, University of Manchester Introduction It is generally assumed that the Bayeux Tapestry is to be read as a continuous, historical narrative and that it is the work of a single artist, consistently executed. The subject-matter is largely heroic: it deals with kingship and battle, oath and betrayal; it includes scenes of courage and carnage, a rallying eve-of-battle speech and two grand feasts; its chief actors are men of the ruling class, supported by their attendants and knights. The visual effect of the frieze (a point not previously, as far as I know, observed by scholars) exhibits, in general, a rhythmic alternation of the horizontal and the vertical: scenes of motion, in which long-bodied horses and dogs, ships, even King Edward’s funeral cortège, are juxtaposed with static scenes where the protagonists confront one another, or where the forward impetus of the frieze is stopped by a building, a tree, or a hill.